The Canada 150 Auction

June 27, 2017

LOT 671

Lot 671

FLOSSIE PAPPIDLUK (1916-)

FLOSSIE PAPPIDLUK (1916-)
Lot 671 Details
FLOSSIE PAPPIDLUK (1916-), W2-453, Holman

LOONS

stonecut print together with the printing stone
1966, 42/50
17.75" x 22.75" — 45.1 x 57.8 cm.

Estimate $3,000-$5,000

Realised: $4,800
Price Includes Buyer's Premium ?

Lot Report

Additional Images
FLOSSIE PAPPIDLUK (1916-)
  • FLOSSIE PAPPIDLUK (1916-)
  • FLOSSIE PAPPIDLUK (1916-)
Provenance:

Gifted to a physician for working in the Western Arctic for many years,
An Art Gallery on Government St.,
Private Collection, Victoria, B.C., 1982
By descent to present owner.

Literature:

George Elliott, Chairman, Canadian Eskimo Arts Committee, Holman Island Print Catalogue, 1966, foreward

Note:

The world has seen many instances of unforeseen bursts of artistic, creative genius producing previously new styles, techniques and subject matter.  Canadian Inuit Art joins the Renaissance, the Impressionists and Pop Art as prime examples. These episodes of artistic expression are the result of circumstances coming together in a perfect storm: technological advancement, social and cultural concerns, and very often hardship.

The Inuit had not only survived, but flourished for millennium in arguably the world’s harshest environment. Having a keen awareness of their world was vital to their survival – their nomadic existence was determined by tracking herds of animals, finding their traditional summer fishing spots and navigating their way on a featureless and blinding white pack ice to hunt the vital seal. This lifestyle provided no means of recording their stories and culture – no pencils, no paper, no ability to carry anything nonessential. Instead, their experiences were passed down through verbal storytelling.

This changed some 60 years ago when James Houston, artist and government official, introduced the Inuit to another way of using their great powers of observation and craftsmanship that they relied on to survive life in the Arctic. The creation of replicas in stone of the animals they hunted, or the shamanistic transformations they believed in, family gatherings, legends and stories could now be preserved in stone carvings as a permanent record and expression of who they were, how they lived and where they came from.

Houston was also instrumental in the development of Inuit print making which began in the winter of 1957 in the small community of Cape Dorset on the southwest tip of Baffin Island. Houston describes his story:

“[Osuitok], a famous [Inuit] carver and good friend, sat near me one evening casually studying the sailor head trademarks on two identical packages of cigarettes. He noted carefully every subtle detail of colour and form, and he suggested to me that it must be very tiresome for some person to sit and paint every one of the little heads with exact sameness on an endless number of packages. I started to explain in [Inuktitut], as best I could, about…technical progress in the field of printing…and the entire offset printing process. My explanation was not altogether successful, partly because of my inability to find the Inuit words to describe such terms as intaglio and colour register and partly because I was wondering whether this could have any practical application. Looking around in order to find some way to demonstrate printing, I saw an ivory walrus tusk that [Osuitok] had recently carved. [He had] carefully smoothed and polished it and had incised bold engravings on both sides. Into the lines of these engravings he had rubbed black soot gathered from a seal oil lamp. 

Taking an old tin of writing ink… I poured off the separated grey matter. With my finger I dipped up the heavy black residue and smoothed it over the tusk. Taking a thin piece of toilet tissue, I laid it carefully on the inked surface and rubbed it lightly and quickly. Stripping the paper from the tusk, I saw that by good fortune we had a clear negative image of [Osuitok’s] incised design.  We could do that, he said, with the instant decision of a hunter. And so we did.”

This printing stone and print present a rare opportunity for collectors of Inuit art.

CONDITION DETAILS

For condition information please contact the specialist.

LOT 671
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About Condition Ratings

  • 5 Stars: Excellent - No discernable damage, flaws or imperfections
  • 4 Stars: Very Good - Minor flaws or imperfections visible only under close inspection using specialised instruments or black light
  • 3 Stars: Good - Minor flaws visible upon inspection under standard lighting
  • 2 Stars: Fair - Exhibits flaws or damage that may draw the eye under standard lighting
  • 1 Star: Poor - Flaws or damage immediately apparent under standard lighting (examples: missing components, rips, broken glass, damaged surfaces, etc.)

Note: Condition ratings and condition details are the subjective opinions of our specialists and should be used as a guide only. Waddington’s uses due care when preparing condition details, however, our staff are not professional restorers or conservators. Condition details and reports are not warranties and each lot is sold “as is” in accordance with the buyer’s terms and conditions of sale. In all cases the prospective purchaser is responsible for inspecting the property themselves prior to placing a bid.